Meanwhile your "Chasseurs de Siberie" will be given again on Wednesday next (the 22nd). I will tell Cornelius to give you tidings of it, unless the fancy takes you to come and hear it, in order to make a diversion from your "Voix interieures" [internal voices] of Leipzig.
Write to me soon, my dear Van II., and believe me wholly your very affectionate and devoted friend,
F. Liszt
November 19th, 1854
127. To Dr. Franz Brendel
Dear Friend,
Kahnt [The subsequent publisher, for many years, of the Neue Zeitschrift.] is only known to me by name, as an active and not too moderately Philistine publisher. Personally I have never met him, and therefore I cannot give a decided opinion as to his fitness and suitability for the post of publisher of the Neue Zeitschrift—yet, on the grounds you give me, it seems quite right. Nothing is to be expected from Bussenius until he has made a firm footing at Gotha, which can only come to pass in the course of the next months; besides this, he has such gigantic plans for his new establishment in Gotha that the affairs of the Neue Zeitschrift might be left somewhat in the background. I entirely agree with you on this point, that you cannot put the Neue Zeitschrift in the market and offer it to just any publisher who has shown himself up to now hostile to our tendencies. To do such a thing as that could never lead to a satisfactory result. I would, however, remark that the next few years will probably set our party more firmly on their legs; the invalidity of our opponents vouches pretty surely for that, apart from the fact, which is nevertheless the principal point, that powerful talent is developing in our midst, and many others who formerly stood aloof from us are drawing near to us and agreeing with us. Consequently it seems to me that it is not to your interest to conclude at once a contract for too many years with Kahnt, unless, which is scarcely likely, he were to make you such an offer that you would be satisfied with it under the most favorable conditions. If Kahnt shows the necessary perception and will for the matter, try to get him to have a consultation with me about it at Weymar. As he is also a music publisher I could tell him some things, and make others plainer, which would not be without interest to him. He need not be afraid that I shall belabor him with manuscripts or urge him to untimely or useless sacrifices…(I need not waste more words over the purity of my intentions!) But I think it is desirable that, if Kahnt consents to become editor of the Neue Zeitschrift, I should put him on his guard about several things beforehand which do not come exactly within the sphere of your activity, but which may essentially help to the better success of the undertaking. A couple of hours will be ample for it, and as I shall not be absent from Weymar during the coming weeks Kahnt will find me any day. Perhaps it could be arranged for you to come to Weymar with him for a day, and then we three can make matters perfectly clear and satisfactory.
Although it is very difficult to me to make time for the more necessary things, yet I am quite at your service with a short article for the trial-number on Wagner's "Rheingold." I had arranged the article so as to do for the New Year's number—you shall have it in four to five days. Dispose of it as suits you best. In case the "Clara Schumann" article does not appear in the next number of the paper, and we do not have to wait too long for the trial-number, it would be well perhaps to put it in there. Possibly it might also be reprinted in the trial-number.
I am glad that you, dear friend, after some "jerks and wrenches," have come together again with the pseudo-Musician of the Future, Rubinstein. He is a clever fellow, possessed of talent and character in an exceptional degree, and therefore no one can be more just to him than I have been for years. Still I do not want to preach to him—he may sow his wild oats and fish deeper in the Mendelssohn waters, and even swim away if he likes. But sooner or later I am certain he will give up the apparent and the formalistic for the organically Real, if he does not want to stand still. Give him my most friendly greetings; as soon as our concert affairs are settled here I shall write and invite him to give one of his orchestral works here.
Do not let yourself be grieved at the ever-widening schism in Leipzig about which you write to me. We have nothing to lose by it; we must only understand how to assert our full rights in order to attain them. That is the task, which will not be accomplished in a day nor in a year. Indeed, it is as it is written in the Gospel, "The harvest truly is plentiful, but the laborers are few!" Therefore we are not to make ourselves over- anxious—only to remain firm, again to remain firm—the rest will come of itself!—
I will do my utmost for Fraulein Riese, [Pianoforte teacher in Leipzig, who for years went every Sunday to Weimar to study with Liszt; died 1860] that she may not repent the somewhat trying journey. It is a splendid and plucky determination of hers to come regularly to Weymar, and I hope she will gain thereby much pleasure and satisfaction.
Nauenburg's proposal of a Tonkunstler-Versammlung (meeting of musicians) in Weymar is very flattering to me; the same was written to me from several other sides. Hitherto I have always abstained from it, because I thought it was more prudent not to sell the bear's skin before the bear is shot. Moreover the ordinary fine talk without deeds ["much cry and little wool"] is very distasteful to me: let friend Kuhmstedt [Professor at a school, and Music Director at Eisenach; died 1858] sing that kind of philosophical fiortures in Eisenach; I have no talent for it. None the less we can return to the Nauenburg proposition at a convenient opportunity, and see how it could be best carried out. According to my opinion, Leipzig would be the most suitable place—and the summer a good time for it.
I consider Raff's polemic entirely harmless. Your readers will get a lesson in history from it, for which they can but be grateful to you—and we need not be anxious about Pohl. It will not puzzle him to eat his way out suitably and wittily.
Yours ever,
F. Liszt December 1st, 1854
128. To J.W. von Wasielewski in Bonn
[Formerly Conductor of the Town Vocal-Union at Bonn (born 1822), afterwards at Dresden; then again in Bonn as Music Director, and living since 1884 in Sondershausen. Widely known as a literary man through his biographies of Schumann and Beethoven, and also through his book "The Violin and its Masters," etc.]
Dear Friend,
Owing to the somewhat long detour of the "Pesther Lloyd," in which the friendly lines of remembrance have been reprinted which you dedicated to the "Altenburg" in the Cologne paper, I only heard of these a few days ago. [Written on the occasion of a week's visit to Liszt at the Altenburg at Weimar, at which time A. Rubinstein was also the Master's guest.] Please therefore to excuse the delay in my thanks, which are none the less sincere and heartfelt.
I have heard many accounts of your most successful concert performances in Bonn, all of which unite in giving you due praise for your excellent conducting. At the beginning of January concert affairs here, which have hitherto been in a vacillating and fluctuating condition, owing to various local circumstances, will take a more settled turn; I will send you the complete programme shortly. By today's post you will receive the "Songs and Sayings" from the last period of the "Minnesang," arranged for four voices by W. Stade (of Jena). It is an interesting work, and the editors would be very much indebted to you if you would have the kindness to give a couple of numbers of them at your concerts. The little pieces make quite a pretty effect, and one peculiar to themselves, which will prove still more intense with the beautiful Rhine Voices. Perhaps you would also find time and inclination to make the public favorably disposed towards the work by a few lines in the Cologne paper.
How is Hiller? Has his "Advocate" [an opera, "The Advocate." It had no success, and was publicly ridiculed at the Cologne Carnival.] won his requisite suit, as I wish from my heart may be the case? It would be very kind of you to let me know your plain, unvarnished opinion of the performance. I should like to recommend an early performance of the opera in Weymar if Hiller has nothing against it. As you frequently have occasion to see Hiller I beg you to ask him whether it would be agreeable to him to send me the text-book and the score, so that I may make the proposal to the management to give the opera here very soon.— Should the matter be then so arranged that he himself conducts the first performance I should be very glad indeed, and I will write to him more fully about it.
The opera Repertoire here will be rather at a stand-still this winter. Frau von Milde is in an interesting condition: consequently there can be no Wagner operas from three to four months; for Frau von Milde is for us, and for these operas in particular, not to be replaced. Berlioz's "Benvenuto Cellini" must also be left unperformed; all the more because Beck, the tenor, has entirely lost his upper notes, and is less able than ever to sing the part of Cellini. But Berlioz will come here in January to conduct his oratorio "L'Enfance du Christ," etc. (German translation by Cornelius), and his "Faust." I on my side have also finished my "Faust Symphony" (in three parts—without text or voice). The entity or non-entity has become very long, and I shall in any case have the nine "Symphonic Poems" printed and performed first, before I set "Faust" going, which may not be for another year. Rubinstein's "Ocean Symphony" is to figure in one of our next programmes. If it were not the rule to keep these concerts exclusively instrumental, I should have begged Hiller for his "Loreley." Probably a good opportunity will occur for giving this work when he himself comes to Weymar, as he promised me he would do.
Joachim sent me, together with his Hamlet Overture, which is in print, two others—to "Demetrius" (by Hermann Grimm), and to "Henry IV." (of Shakespeare)—two remarkable scores composed with lion's claws and lion's jaws!—
Have you any news of Schumann? Give me some good tidings of his recovery. "Genoveva" will be given here in April at latest.—
Once more best thanks, dear friend, for the very pleasant days you gave us here, which the inhabitants of the Altenburg most agreeably remember; they send you most friendly greetings. I have not forgotten about the Weimar orchestra matter—a half-prospect has already appeared of realizing my wish, which is in accord with your own. I cannot help, however, always doubting whether it will be for your advantage to exchange Bonn for Weymar, for your position in Bonn appears to me to offer you decidedly improving chances from year to year, and in these regions so much is wanting…that I am constrained to be satisfied with small things. Well, what must be will be. Meanwhile keep in kind remembrance
Yours in sincere friendship,
F. Liszt
Weymar, December 14th, 1854
129. To William Mason in New York
[A pupil of Liszt's, born 1828 at Boston, esteemed as a first- rate piano virtuoso in America]
My dear Mason,
Although I do not know at what stage of your brilliant artistic peregrinations these lines will find you, yet I want you to know that I am most sincerely and affectionately obliged to you for the kind remembrance you keep of me, and of which the papers you send me give such good testimony. "The Musical Gazette" of New York, in particular, has given me a real satisfaction, not only on account of the personally kind and flattering things it contains about me, but also because that paper seems to ingraft a superior and excellent direction on to opinion in your country.
Now you know, my dear Mason, that I have no other pride than to serve, as far as in me lies, the good cause of Art, and whenever I find intelligent men conscientiously making efforts for the same end I rejoice and am comforted by the good example they give me. Will you please give my very sincere compliments and thanks to your brother, who, I suppose, has taken the editorship-in- chief of, the Musical Gazette, and if he would like to have some communications from Weymar on what is going on of interest in the musical world of Germany I will let him have them with great pleasure through Mr. Pohl, who, by the way, no longer lives in Dresden (where the numbers of the Musical Gazette were addressed to him by mistake), but in the Kaufstrasse, Weymar. His wife, being one of the best harpists whom I know, is, now among the virtuosi of our orchestra, which is a sensible improvement both for opera and concerts.—
A propos of concerts, I will send you in a few days the programme of a series of Symphonic performances which ought to have been established here some years ago, and to which I consider myself in honor as in duty bound to give a definite impetus at the beginning of the year 1855.—Toward the end of January I expect Berlioz. We shall then hear his trilogy of "L'Enfance du Christ," [The Childhood of Christ] of which you already know "La Fuite en Egypte," [The Flight into Egypt] to which he has added two other little Oratorios called "Le Songe d'Herode" [Herod's Dream] and "L'Arrivee a Sais." [The Arrival at Sais]—His dramatic Symphony of Faust (in four parts, with solos and chorus) will also be given entire while he is here.
As regards visits of artists last month which were a pleasure to me personally, I must mention Clara Schumann and Litolff. In Brendel's paper (Neue Zeitschrift) you will find an article signed with my name on Madame Schumann, whom I have again heard with that sympathy and thoroughly admiring esteem which her talent commands. As for Litolff, I confess that he made a great impression on me. His Fourth Symphonic Concerto (in manuscript) is a very remarkable composition, and he played it in such a masterly manner, with so much verve, such boldness and certainty, that it gave me very great pleasure. If there is something of the quadruped in Dreyschock's marvelous execution (and this comparison should by no means vex him: is not a lion as much a quadruped as a poodle?), there is certainly something winged in Litolff's execution, which has, moreover, all the superiority over Dreyschock's which a biped with ideas, imagination, and sensibility has over another biped who fancies that he possesses a surfeit of them all—often very embarrassing!
Do you still continue your intimate relations with old Cognac in the New World, my dear Mason?—Allow me again to recommend you measure, which is an essential quality for musicians. In truth, I am not very much qualified to preach to you the quantity of this quantity; for, if I remember rightly, I employed a good deal of Tempo rubato in the times when I was giving my concerts (a business that I would not begin again for anything in the world), and again, quite lately, I have written a long Symphony in three parts entitled "Faust" (without text or vocal parts), in which the horrible measures of 7/8, 7/4, 5/4, alternate with C and 3/4.—
In virtue of which I conclude that you ought to limit yourself to 7/8ths of a small bottle of old Cognac in the evening, and never to go beyond five quarters!—
Raff, in his first volume of the "Wagner-Frage," has realized something like five quarters of doctrinal sufficiency; but that is an example that can hardly be recommended for imitation in a critical matter, and especially in Cognac and other spirituous matters.
Pardon me, my dear Mason, for these bad jokes, which however my good intentions justify, and try to bear yourself valiantly both morally and physically, which is the heartfelt wish of
Your very affectionate
F. Liszt
Weymar, December 14th, 1854
You did not know Rubinstein at Weymar. [Liszt was mistaken about this. Mason had even done the principal honors to Rubinstein at his first visit to Weimar, in the absence of the Master.] He stayed here some time, and notoriously cuts himself off from the thick mass of so-called pianist composers who don't know what playing means, and still less with what fuel to fire themselves for composing—so much so that with what is wanting to them in talent as composers they think they can make themselves pianists, and vice versa.
Rubinstein will constantly publish a round fifty of works— Concertos, Trios, Symphonies, Songs, Light pieces—and which deserve notice.
Laub has left Weymar; Ed. Singer has taken his place in our orchestra. The latter gives great pleasure here, and likes being here also.
Cornelius, Pohl, Raff, Pruckner, Schreiber, and all the new school of new Weymar send you their best remembrances, to which I add a cordial shake hand. [Written thus in English by Liszt]
130. To Rosalie Spohr
Pray pardon me, dear artist and friend, that I am so late in expressing the hearty sympathy which your Weymar friends take in the joyful event of your marriage. [To Count Sauerma.] You know well that I am a poor, much-bothered mortal, and can but seldom dispose of my time according to my wishes. Several pressing pieces of work, which I was obliged to get ready by this New Year's Day, have prevented me up to now from giving you a sign of life—and I am employing my first free moment to assure you that the changing date of the year can bring with it no variation in my sincere, friendly attachment. Remember me most kindly to the papa and sister, and write to me when you can and tell me where you are going to live henceforth. Possibly I might happen to be in your neighborhood, in which case I should hasten to come and see you.
I have but little news to give you of Weymar. That Litolff has been to see me here, and played his two Symphony-Concertos capitally, you doubtless know. Probably he will come back after his journey to Brussels, in the course of next month, when I also expect Berlioz here. Our orchestra now also possesses a very first-rate harpist, Frau Dr. Pohl, with a good double-movement harp of Erard. It seems that poor Erard is no better, and his "cure" at Schlangenbad has not had the desired result. I frequently get very sad tidings of his condition through my daughter.
I thank you warmly for the friendly reception you accorded to Herr Wolf as a Weymarer. I hope he did not inconvenience you by too long visits. His wife brought me some weeks ago the original sketch of your portrait, which is to become my possession.
The Frau Furstin [Princess] and Princess Marie commission me to give you their most friendly greetings and wishes, to which I add once more the expression of my friendly devotion.
A thousand respects and homage.
F. Liszt
January 4th, 1855
131. To Alfred Dorffel in Leipzig
[Writer on music, born 1821; custodian of the musical section of the town library of Leipzig: the University there gave him the degree of Dr. phil. honoris causa.]
Dear Sir,
Allow me to express to you direct my most cordial thanks for the conscientious and careful pains you have taken in regard to my Catalogue. ["Thematic Catalogue of Liszt's Compositions."] I am really quite astonished at the exactitude of your researches, and intend to repeat my warm thanks to you in person in Leipzig, and to discuss with you still more fully the motives which lead me not entirely to agree with your proposal, and only to use a part of your new elaboration of my Catalogue. To avoid diffuseness, I can for today only state a couple of points.
The standpoint of your new arrangement is, if I have rightly understood you, as follows:—There are still being circulated in the music-shops a certain number of copies of my works, especially of the "Studies," "Hungarian Rhapsodies," and several "Fantasiestucke" (under the collective title of "Album d'un Voyageur"), etc., that I have not included in my Catalogue, which I gave into Dr. Hartel's hands for printing;—and you have taken upon yourself the troublesome task of arranging these different and somewhat numerous works in what would be, under other circumstances, a most judicious manner.
However gratifying to me this interest of yours in the production of a suitable Catalogue can but be, yet I must declare myself decidedly for the non-acceptance of the portions added by you (with certain exceptions).
1. The Hofmeister edition of the twelve Studies (with a lithograph of a cradle, and the publisher's addition "travail de jeunesse"!) is simply a piracy of the book of Studies which was published at Frankfort when I was thirteen years old. I have long disowned this edition and replaced it by the second, under the title "Etudes d'execution transcendante," published by Haslinger in Vienna, Schlesinger in Paris, and Mori and Lavener in London. But this second edition has now been annulled several years ago, and Haslinger has, by my desire, put aside my copyright and plates, and bound himself by contract not to publish any more copies of this work henceforth. After a complete agreement with him I set to work and produced a third edition of my twelve Studies (very materially improved and transformed), and begged Messrs. Hartel to publish it with the note "seule edition authentique, revue par l'auteur, etc.," which they did. Consequently I recognize only the Hartel edition of the twelve Studies as the SOLE LEGITIMATE ONE, which I also clearly express by a note in the Catalogue, and I therefore wish that the Catalogue should make no mention of the earlier ones. I think I have found the simplest means of making my views and intentions clear by the addition of the sign (+).
2. It is the same case with the Paganini "Etudes" and the "Rhapsodies Hongroises;" and after settling matters with Haslinger I completely gained the legal right to disavow the earlier editions of these works, and to protest against eventual piracy of them, as I am once more in possession both of the copyright and the entire engraving plates.
These circumstances will explain to you the reappearance (in a very much altered conception and form) of many of my compositions, on which I, as piano player and piano composer, am obliged to lay some stress, as they form, to a certain extent, the expression of a closed period of my artist-individuality.
In literature the production of very much altered, increased, and improved editions is no uncommon thing. In works both important and trivial, alterations, additions, varying divisions of periods, etc., are a common experience of an author. In the domain of music such a thing is more minute and more difficult— and therefore it is seldom done. None the less do I consider it very profitable to correct one's mistakes as far as possible, and to make use of the experiences one gains by the editions of the works themselves. I, for my part, have striven to do this; and, if I have not succeeded, it at least testifies to my earnest endeavour.
3. In the "Annees de Pelerinage" (Schott, Mainz) several of the pieces are again taken from the "Album d'un Voyageur." The Album brought out by Haslinger must not be quoted in the Catalogue, because the work has not been carried out according to its original plan, and Haslinger has given me back, in this case also, the copyright and plates.
As the natural consequence of what I have said I beg you therefore, dear sir, not to undertake any alteration in the disposition and arrangement of my Catalogue, and only to add the various enlargements and improvements, for which I have to thank your overlooking and corrections, as I have now given them and marked them.—
The title of the Catalogue might sound better thus in German:—
F. Liszt
"Thematischer Catalog." ["Thematic Catalogue"]
And the letters of the headings "Etudes—Harmonies—Annees dePelerinage—Ungarische Rhapsodien—Fantaisies on Airs fromOperas, etc.," must be rather large, and these headings separatedfrom the special title of the works.
I cannot agree with the admission of a supplementary Opus- number,—but it is of consequence to me that the Catalogue should come out speedily, in order to get as clear a survey as possible of my works up to the present time (which, however, are by no means sufficient for me).
Accept once more my best thanks, dear Sir, as also the assurance of high esteem of
Yours most truly,
F. Liszt
January 17th, 1855.
P.S.—I take the liberty of keeping your edition of the Catalogue here meanwhile, as it cannot be used for the arrangement of the Hartel edition.
132. To Anton Rubinstein
Your fugue of this morning, my dear Rubinstein, is very little to my taste, and I much prefer to it the Preludes that you wrote at an earlier date in this same room, which, to my great surprise, I found empty when I came to fetch you for the Berlioz rehearsal. Is it a fact that this music works on your nerves? And, after the specimen you had of it the other time at the Court, did the resolution to hear more of it seem to you too hard to take? Or have you taken amiss some words I said to you, which, I give you my word, were nothing but a purely friendly proceeding on my part? Whatever it may be, I don't want any explanations in writing, and only send you these few lines to intimate that your nocturnal flight was not a very agreeable surprise to me, and that you would have done better in every way to hear the "Fuite en Egypte" and the "Fantaisie sur la Tempete" of Shakespeare.
Send me tidings of yourself from Vienna (if not sooner), and, whatever rinforzando of "murrendo" may happen, please don't do a wrong to the sentiments of sincere esteem and cordial friendship invariably maintained towards you by
F. Liszt
Weymar, February 21st, 1855.
133. To Louis Kohler
My very dear Friend,
Hans von Bulow will bring you these lines. You must enjoy yourself in the artist who, above all other active or dying out virtuosi; is the dearest to me, and who has, so to speak, grown out of my musical heart.—When Hummel heard me in Paris more than twenty-five years ago, he said, "Der Bursch ist ein Eisenfresser." [The fellow is a bravo."] To this title, which was very flattering to me, Hans von Bulow can with perfect justice lay claim, and I confess that such an extraordinarily gifted, thorough-bred musical organism as his has never come before me.
Receive him as an approved and energetic friend, and do all you can to make his stay in Konigsberg a pleasant one.
Yours in friendship,
F. Liszt
Weymar, March 16th, 1855
The engraving of my Symphonic Poems is in progress, and in the course of this summer five or six of them will be ready. There is a good bit of work in it.
At the present time I am exclusively engaged in the composition of a "Missa Solemnis." You know that I received, from the Cardinal Primate of Hungary, the commission to write the work for the consecration of the cathedral at Gran, and to conduct it there (probably on the 15th of August).
134. To Dr. Franz Brendel
Sunday, March 18th, 1855
A few words in haste, dear friend, for I am over head and ears in work. First and foremost, my best thanks for your communications, with the request to continue them, even if I cannot always answer the different points thoroughly.
I send you herewith the title of "The Captive" [Song, by Berlioz, for alto voice with orchestra or piano.]—the words must be written under the notes both in French and German. There can be no copyright claimed for this Opus in Germany, as it appeared years ago in Paris. It is to be hoped, however, that Kahnt will not lose by it, as he has only to bear the cost of printing—and in any case it is a suitable work for his shop..—.
To be brief—Panofka's [A well-known teacher of singing and writer on music (1807-88); collaborator of the Neue Zeitschrift.] letter, in your last number, must be regarded as a mystification. In the first few lines a glaring falsehood, founded on facts, is conspicuous, for the Societe de Ste. Cecile has been in existence for years, and was formerly [1848-54] conducted by Seghers [Pupil of Baillot (1801-81)]—not to mention that Berlioz conducted the Societe Philharmonique, where "many Symphonies were performed," for at least a season (of something like four years)—and then as regards Scudo, [Musical critic and journalist in Paris (1806-64)] it must appear incredible to see a man like that mentioned with approval in your paper. It is well known that Scudo has, for years past, with the unequivocal arrogance of mediocrity, taken up the position of making the most spiteful and maliciously foolish opposition, in the revue des Deux Mondes (the "Grenzboten" only gives a faint impression of it), to our views of Art, and to those men whom we honor and back up. (I can tell you more about this by word of mouth.) If Panofka calls that "persuasion and design," I give him my compliments…on his silliness.—
Your views on the characteristic motives are right, and for my part I would maintain them very decidedly against the bornes attacks which they have to bear—yet I think it is advisable not to discuss Marx's book ["The Music of the Nineteenth Century," 1855.] at present.
Yours ever,
F. Liszt
135. To Dr. Franz Brendel
April 1st, 1855
Dear Friend,
The question of criticism through creative and executive artists must some time come on the tapis, and Schumann affords a perfectly natural opportunity for it. [Liszt's article on Robert Schumann, "Gesammelte Schriften," Vol. iv.] By the proofs of the second article (which I thank you much for having corrected with the necessary exactitude) you will observe that I have modified several expressions, and have held them in more just bounds. Believe me, dear friend, the domain of artists is in the greater part guilty of our sluggish state of Art, and it is from this side especially that we must act, in order to bring about gradually the reform desired and pioneered by you.
Tyszkiewicz's [Count Tyszkiewicz, writer on music, collaborator of the Neue Zeitschrift.] letter gave me the idea of asking you to make him a proposal in my name, which cannot be any inconvenience to him. In one number of Europe artiste he translated the article on "Fidelio." [By Liszt, "Gesammelte Schriften," Vol. iii., I.] Should he be disposed to publish several of my articles in the same paper, I am perfectly ready to let him have the French originals, [Liszt's articles were, as already mentioned, written in French and translated into German by Cornelius.] whereby he would save time and trouble. He has only to write to me about it; for, after his somewhat capricious behaviour towards me, I am not particularly inclined to apply to him direct, before he has written to me. I am in perfect agreement with his good intentions; it is only a question how far he is able and willing to carry them out, and how he sets about it. His "Freischutz-Rodomontade" is a student's joke, to which one can take quite kindly, but which one cannot hold up as a heroic feat. If he wishes to be of use to the good cause of musical progress, he must place and prove himself differently. For my part I have not the slightest dislike to him, only of course it seemed rather strange to me that, after he had written to me several times telling me that he was coming to see me at Weymar, and had also allowed Wagner to write a letter of introduction for him, which he sent to me, he should ignore me, as it were, during his long stay in Leipzig. This does not of course affect the matter in hand, and I am not in the least angry at his want of attention, but I simply wait till it occurs to him to behave like a reasonable man.
I thank you for your tidings about Dietrich—although I am accustomed to expect less, rather than more, from people.
On the 9th April Schumann's "Genoveva" will be given here—and I think I may venture to promise before-hand that the performance will be a far better one than that at Leipzig. Fraulein Riese will tell you about the "Transfiguration of the Lord." [Oratorio by Kuhmstedt] Of this kind there should certainly be no more [oratorios The word is missing in the original, as the corner of the letter is cut off] composed.
Yours in friendship,
F. Liszt
136. To Anton Rubinstein
My dear Rubinstein,
Gurkhaus has just sent me a copy of your "Persian Songs," on the title-page of which there is a mistake which I beg you to get corrected without delay. The Grand Duchess Sophie is no longer "Hereditary Grand Duchess," but "Grand Duchess" pure and simple, and I think it would not do to send her the dedicatory copy with this extra word. Please write therefore to Gurkhaus to see to it.
In the number of the Blatter fur Musik which has come to me I have read with great pleasure and satisfaction Zellner's article on your first concert in Vienna. It is not only very well written but thoroughly well conceived, and of the right tone and manner to maintain for criticism its right and its raison d'etre. I second it very sincerely for the just eulogy it gives to your works; and, if you have the opportunity, make my compliments to Zellner, to whom I wrote a few lines the other day. This article coincides rather singularly with that which appeared in the Neue Zeitschrift (No. II.) on Robert Schumann, in which I probed rather deeply into the question of criticism. If you believe me, my dear Rubinstein, you will not long delay making yourself of the party; for, for the few artists who have sense, intelligence, and a serious and honest will, it is really their duty to take up the pen in defense of our Art and our conviction—it matters little, moreover, on which side of the opinions represented by the Press you think it well to place yourself. Musical literature is a field far too little cultivated by productive artists, and if they continue to neglect it they will have to bear the consequences and to pay their damages.
With regard to Weymar news, I beg to inform you that this evening Kulhmstedt's oratorio "The Transfiguration of the Lord" will be given at the theater, under the very undirecting direction of the composer. I cannot, unfortunately, return him the compliment he paid you at Wilhelmsthal—"Young man, you have satisfied me"; for, after having heard it at three rehearsals, I found no satisfaction in it either for my ears or my mind: it is the old frippery of counterpoint—the old unsalted, unpeppered sausage, [Figure: Musical example]
etc., rubbish, to the ruin of eye and ear! I will try to leave it out in my Mass, although this style is very usual in composing Church music. In five or six weeks I hope to have finished this work, at which I am working heart and soul (the Kyrie and Gloria are written). Perhaps I shall still find you at Vienna (or in the outskirts, which are charming), when I come to Gran in the month of July.
If not, we shall see each other again at Weymar, for you owe me a compensation for your last fugue, which is no more to my taste than Kuhmstedt's counterpoint. When are you going to send me the complete works of Anton Rubinstein that you promised me, and which I beg you not to forget? Your idea of a retrospective Carnival seems to me excellent, and you know how to write charming and distinguished pieces of that kind.
Farewell, dear friend; I must leave you to go and have a rehearsal of Schumann's "Genoveva," which is to be given next Monday. It is a work in which there is something worthy of consideration, and which bears a strong impress of the composer's style. Among the Operas which have been produced during the last fifty years it is certainly the one I prefer (Wagner excepted— that is understood), notwithstanding its want of dramatic vitality—a want not made up for by some beautiful pieces of music, whatever interest musicians of our kind may nevertheless take in hearing them.
A thousand cordial greetings, and yours ever,
F. Liszt
Weymar, April 3rd, 1855
When you write to me, please add your address. I beg you will also return my best compliments to Lewy. [Pianist in St. Petersburg; a friend of Rubinstein's.]
A thousand affectionate messages to Van II. from the Princess.
137. To Freiherr Beaulieu-Marconnay, Intendant of the Court theater at Weimar
[Autograph in the possession of Herr Hermann Scholtz, Kammer-Virtuosos in Dresden. The addressee died in Dresden.]
Dear Baron,
It is not precisely a distraction, still less a forgetfulness, with which I might be reproached as regards the programme of this evening's concert. The indications which Her Royal Highness the Grand Duchess condescends to give me are too precious to me for me not to be most anxious to fulfill at least all my duties. If, then, one of Beethoven's Symphonies does not figure in today's programme, it is because I thought I could better satisfy thus the intentions of H.R.H., and that I permitted myself to guess that which she has not taken the occasion to explain this time. The predilection of His Majesty the King of Saxony for Beethoven's Symphonies assuredly does honor to his taste for the Beautiful in music, and no one could more truly agree to that than I. I will only observe, on the one side, that Beethoven's Symphonies are extremely well known, and, on the other, that these admirable works are performed at Dresden by an orchestra having at its disposal far more considerable means than we have here, and that consequently our performance would run the risk of appearing rather provincial to His Majesty. Moreover if Dresden, following the example of Paris, London, Leipzig, Berlin, and a hundred other cities, stops at Beethoven (to whom, while he was living, they much preferred Haydn and Mozart), that is no reason why Weymar—I mean musical Weymar, which I make the modest pretension of representing—should keep absolutely to that. There is without doubt nothing better than to respect, admire, and study the illustrious dead; but why not also sometimes live with the living? We have tried this plan with Wagner, Berlioz, Schumann, and some others, and it would seem that it has not succeeded so badly up to now for there to be any occasion for us to alter our minds without urgent cause, and to put ourselves at the tail—of many other tails!—
The significance of the musical movement of which Weymar is the real center lies precisely in this initiative, of which the public does not generally understand much, but which none the less acquires its part of importance in the development of contemporary Art.
For the rest, dear Baron, I hasten to make all straight for this evening by following your advice, and I will ask Messrs. Singer and Cossmann to play with me Beethoven's magnificent trio (in B- flat—dedicated to the Archduke Rudolph), as No. 3 in the programme.
A thousand affectionate compliments, and
Yours ever,
F. Liszt
Monday, May 21st, 1855
138. To Anton Rubinstein
My dear Rubinstein,
On my return from the Musical Festival at Dusseldorf, where I hoped to meet you, I found the parcel of oeuvres choisies and the portrait, which is very successful, of Van II. I hasten to give you my best thanks for this first sending, begging you not to forget your promise to complete, in the course of their publication, the collection of your works, which have for me always a double interest of Art and friendship. This morning we had a taste, with Singer and Cossmann, of the Trio in G minor, of which I had kept a special recollection—and afterwards Princess Marie Wittgenstein (who commissions me to give all her thanks to you, until she can have the pleasure of giving them to you in person) demanded the pieces dedicated to her, which had complete success. A propos of dedications, the Grand Duchess Sophie is enchanted with the "Persische Lieder" ["Persian Songs"], and this she has probably already intimated to you. Shortly before her departure for Dusseldorf she sang several of them over again, taking more and more liking to them. Decidedly the first impression that these "Lieder" made on me, when you showed them to me, and when I begged you to publish them without delay, was just, and I have not been deceived in predicting for them a quasi-popular success. Mdlle. Genast, who has returned from Berlin, tells me that she made a furor there with "Wenn es doch immer so bliebe!" ["Oh, could it remain so for ever!"] But, unfortunately, as an older song has it, "it cannot remain so for ever under the changing moon!" The last time I was passing through Leipzig (where they gave my "Ave Maria" exceedingly well at the Catholic Church), I told Gotze to appropriate to himself three or four of your "Persische Lieder," which he will sing splendidly; and, as he comes here pretty often, I will beg him to give us the first hearing of them at some Court concert. The Grand Duchess Olga is expected for the day after tomorrow; and if, as is probable, they treat her to a little concert, I shall take advantage of the opportunity to make her become better acquainted with the Trios you dedicated to her, and which I consider as among your best works. In the parcel I noticed the absence of "L'Album de Kamennoi-Ostrow," which I should like to make known, or, better still, to offer from you to H.I.H. the Dowager Grand Duchess, and which I want you to send me for this purpose.
If by chance you pass through Bonn, do not forget to go and see Professor Kilian, who has been interested in you from very old times, and with whom we talked much of you and your works during the journey from Cologne to Dusseldorf.
Write me word soon what you are doing now. I, for my part, shall spend the summer at Weymar, up to the time of my journey to Gran (June-August). I count on your promise to come and see me in the autumn, unless your road should lead you into these parts sooner. You may be very sure of being always most welcome at the Altenburg—and, even if a number of those holding our musical opinions should meet still less often than in the past, that would not in any way influence the very sincere feelings of friendship and esteem which I bear towards you and keep towards you invariably. When we see each other again, you will find my "Divina Commedia" pretty far advanced; I have sketched a plan of it (a Symphony in three parts: the two first, "Hell" and "Purgatory," exclusively instrumental; the third, "Paradise," with chorus): but I cannot set myself entirely to this work until I have finished the new score of my choruses from Herder's "Prometheus," which I am rewriting in order to have it printed shortly after the publication of my Symphonic Poems, six of which will come out next October.
I am very curious to see what your new case of manuscripts will contain. Have you set to work on "Paradise Lost"? I think that would be the most opportune work for taking possession of your fame as a composer.
A thousand cordial expressions of friendship, and
Yours ever,
F. Liszt
June 3rd, 1855
139. To Dr. Franz Brendel
[Weimar, June 1855]
Dear Friend,
Best thanks for your munificence. The weed [Cigars] is very welcome, and you will have to answer for it if it induces me to importune you with some more columns. Meanwhile I send you the proofs of the second Berlioz article, together with a fresh provision of manuscripts, and with the next proofs you will get the end.
I will also send you very soon a report of the Dusseldorf Musical Festival (not by me), the authorship of which I beg you to keep strictly anonymous. Probably he will be piquant and forcible. On the whole, and also in detail, the Dusseldorf Musical Festival can only be described as a great success, and I, for my part, rejoice in this and every success without particularly envying it. My task is quite a different one, the solution of which is by no means troubled thereby.
If you should by any chance have read that I am going to America (!—there are many people who would be glad to have me out of sight!), and that a Leipzig virtuoso (in Leipzig such animals as virtuosi are seldom to be met with!) is going to take my place here, you can simply laugh, as I have done, at this old canard— but don't say anything to contradict it in your paper; such bad jokes are not worth noticing, and are only good as finding food for inquisitive Philistines. In a few days I hope to be able again to do something serious with my work, and shall not leave Weymar until my journey to Hungary (at the end of August). Gutzkow's appointment is still in suspense, but is not impossible. Have you read Frau Marr's (Sangalli's) brochure, brought out by Otto Wigand? The pages which she devotes to my work here may perhaps interest you, and I have absolutely nothing to complain of in them, especially in view of the fact that I have not hitherto been able to go "hand in hand" with Marr. Marr has, moreover, according to what he told me, given in his resignation as artistic Director, [At the Weimar Court theater] and one cannot get clear about the entire theater-management for some weeks to come. I keep myself very passive in the matter, and don't fish in troubled waters. Thus much is certain—that if Weymar wants to do anything regular, it cannot do without my ideas and influence. About the rest I don't need to trouble myself. Last Sunday we held a satisfactory performance of "Tannhauser" in honor of the Princess of Prussia—and next Monday the opera will be repeated.
Friendly greetings to your wife from your almost too active fellow-worker and friend,
F. Liszt
I am writing to Fraulein Riese one of these next days, to invite her to the performance of my Mass at Jena. [The Mass for male voices was performed there in the latter half of June.]
140. To Dr. Franz Brendel.
[The first sheet of the original is missing]
Evers' [Doubtless Carl Evers (1819-75), composed Sonatas, Salon pieces, etc.] letter has amused me, and it will cost you but little diplomacy to conciliate the sensitive composer. You know what I think of his talent for composition. From people like that nothing is to be expected as long as they have not learned to understand that they are uselessly going round and round in what is hollow, dry, and used up. That good Flugel [Music writer and composer; at that time teacher in a school at Neuwied; now organist at the Castle at Stettin.] has also little power of imagination, although a little more approach to something more earnest, which has at least this good in itself—that it checks a really too naive productiveness…His letter on the Dusseldorf Musical Festival is again a little bit of Barenzucker [Liquorice.] (reglisse in French), and W.'s article in comparison with it quite a decent Pate Regnault. When we see each other again I will make this difference clear to you—meanwhile make the Rhinelanders happy with the latter, and don't be afraid of the whispers which it may perhaps call forth; for, I repeat, it contains nothing untrue or exaggerated, and in your position of necessary opposition it would be inconsistent if you were to keep back views of that kind from the public.
With the most friendly greeting, your
F. Liszt
June 16th, 1855.
My Mass for male voices and organ (published by Hartel two years ago) will be given next week at the church in Jena. As soon as the day is fixed I will let Fraulein Riese know.
Once more I recommend you to keep the W. article strictly anonymous.
141. To Concertmeister [Leader of orchestra] Edmund Singer.
Dear Singer,
If I write but seldom to my friends there is, besides other reasons, one principal cause for it, in that I have but seldom anything agreeable or lively to tell them. Since your departure very little has happened here that would interest you. One half of our colleagues of the Neu-Weymar-Verein [New Weymar Union] is absent—Hoffmann in Holland, Preller in the Oldenburg woods, Pruckner and Schreiber at Goslar, etc., etc.—so that our innocent reunions (which finally take place in the room of the shooting-house) are put off for several weeks. Cornelius is working at a Mass for men's voices—on the 15th of August we shall hear it in the Catholic Church. I, on my side, am working also at a Psalm (chorus, solos, and orchestra), which will be ready by your return, in spite of all interruptions which I have to put up with by constant visits. An exceptionally agreeable surprise to me was Hans von Bulow, who spent a couple of days here, and brought with him some new compositions, amongst which I was particularly pleased with a very interesting, finely conceived, and carefully worked-out "Reverie fantastique." Until the 15th of August (when his holidays end) he remains in Copenhagen, where he will certainly meet with a friendly reception. Perhaps next summer you would be inclined to go there. You would find it a very pleasant neighborhood, and many pleasant people there, who have also been agreeably remembered by me. If I had time, I would gladly go there again for a couple of weeks, to find a little solitude in the Zoological Gardens and to forget somewhat other bestialities. [Probably a play on the words Thiergarten (beast-garden) and Bestialitaten] This satisfaction is not so easily attainable for me elsewhere.
I envy you immensely about Patikarius [Hungarian gipsy orchestras] and Ketskemety. [Hungarian gipsy orchestras] This class of music is for me a sort of opium, of which I am sometimes sorely in need. If you should by chance see Kertbeny, who has now obtained a logis honoraire, please tell him that my book on the Gipsies and Gipsy Music is already almost entirely translated by Cornelius, and that I will send it to him by the autumn. But beg him at the same time not to write tome, as it is impossible for me to start a detailed correspondence with K.
I sent the pianoforte arrangement (with the voices) yesterday to Herr von Augusz, with the request that he would present them, when he had an opportunity, to His Eminence Cardinal Scitowsky. The Mass [Liszt's Graner Messe.] will not take up an excessively long time, either in performance or studying. But it is indispensable that I should conduct the general rehearsal as well as the performance myself; for the work cannot be ranked amongst those in which ordinary singing, playing, and arrangement will suffice, although it offers but small difficulties. It is a matter of some not usual trifles in the way of accent, devotion, inspiration, etc.
When are you coming back, dear Singer? Only bring home with you an orderly packet of manuscripts, that is to say to Weymar, where I hope that you will feel yourself more and more at home.
The members of our Club who are still here send you the most friendly greetings by me, to which I add a cordial "auf baldiges Wiedersehen" ["May we soon meet again!"].
Yours ever,
F. Liszt
August 1st, 1855
P.S.—Joachim is going to make a walking tour in Tyrol. I hope he will come and see us on his return. Berlioz proposes to give some concerts in Vienna and Prague next December. I shall probably postpone my journey to Wagner (at Zurich) until November. I shall remain here for the next few months, in order to write several things in readiness for the winter.
142. To Bernhard Cossmann In Baden-Baden
Wilhelmsthal, August 15th, 1855
Here am I really on the road to Baden-Baden, dear friend; but that does not advance matters at all, and in spite of myself I must resign myself to remain en route. Tomorrow morning I return to Weymar, where I have promised to meet my two daughters, as well as Mr. Daniel [Liszt's son], who has pretty well distinguished himself at the general competition. After passing ten days or so with me the girls will take up their abode with Madame de Bulow at Berlin, who is good enough to take charge of them, and Daniel will return to Paris to continue his studies there. I was hoping also to be able to spend a week or two there- -but that cannot possibly be arranged, and on reflection I was obliged to limit myself to conducting the Princess W[ittgenstein] as far as Eisenach, whence she has continued her journey to Paris with her daughter (with the special view of seeing the exhibition of pictures there); and for my exhibition I shall content myself with that to the north, which I can enjoy from the windows of my room!—This picturesque solemnity is almost up to the height of the musical solemnities of Baden which you describe to me in such bright and lively colors, but with this difference, that at Wilhelmsthal we are very much favored by the element of damp, whereas at Baden the artists who give concerts are drained dry.
At Weymar all the world is out of doors, and the town is pretty full of nothing, offering to the curiosity of travelers only the trenches and practical circumvallations in honor of gas-lighting which they are going to start in October. Singer is bathing in the Danube (at Ofen), and tells me he shall be back by the roth of September; Raff is promenading amid the rose and myrtle shrubberies of his "Sleeping Beauty" at Wiesbaden; Stor is returning with his pockets full of new nuances which he has discovered at Ilmenau, where he has composed (as a pendant to my Symphonic Poem) "Ce qu'on entend dans la vallee"! ["What is heard in the valley." Liszt's work bears the title "Ce qu'on entend sur la montagne" ("What is heard on the mountain.")] Preller [Friedrich Preller, the celebrated painter of the Odyssey pictures] has found beautiful trees in the Duchy of Oldenburg which serve him as a recovery of the "Recovery" [Or a "recreation of the Recreation." I do not know which is meant. The original is "qui lui servent d'Erholung von der 'Erholung.'"—Translator's note.]; Martha Sabinin [A pupil of Liszt's, a Russian] is haunting the "Venusberg" in the neighborhood of Eisenach in company with Mademoiselle de Hopfgarten; Bronsart [Hans von Bronsart, Liszt's pupil, now General-Intendant at Weimar] is gone to a sort of family congress at Konigsberg; and Hoffman [Hoffmann von Fallersleben, the well-known poet] is running through Holland and Belgium to make a scientific survey of them; whilst Nabich is trying to gain the ears of England, Scotland, and Ireland with his trombone!
I, for my part, am in the midst of finishing the 13th Psalm (for tenor solo, chorus, and orchestra), "How long wilt Thou forget me, O Lord?" which you will hear this winter; and I shall not leave Weymar till November to go and pay a few days' visit to Wagner at Zurich. Don't altogether forget me, my dear Cossmann, in the midst of your solemnities——[The end of the letter was lost.]
143. To August Kiel, Court Conductor in Detmold
[Autograph (without address) in the possession of M. Alfred Bovet, of Valentigney. The contents lead to the conclusion that the above was the addressee (1813-71).]
I have been prevented until now, by a mass of work and little outings, from sending you my warmest thanks for your kind forwarding of the opera text of "Sappho," and I beg that you will kindly excuse this delay. The manner in which Rietz's composition to the Schiller dithyramb is to be interwoven with the poem I cannot venture fully to explain. I confess also that the dramatico-musical vivifying of the antique is for me a sublime, attractive problem, as yet undecided, in the solution of which even Mendelssohn himself has not succeeded in such a degree as to leave nothing further to be sought for. Some years ago "Sappho" (in three acts—text by Augier, music by Gounod) was given at the Paris Opera. This work contains much that is beautiful, and Berlioz has spoken of it very favorably in the Journal des Debats. Unfortunately it did not appear in print, and up to the present time no other theater has performed it, although it made a sensation in Paris and ensured a first-rate position to the composer. If it would interest you, dear sir, to get to know the score, I will willingly write to Gounod and beg him to give me the work to send to you.
I have repeatedly heard the most gratifying tidings of the sympathy and care which you bestow in Detmold upon the works of Wagner and Berlioz. Regardless of the many difficulties, opposition, and misunderstandings which meet these great creations, I cherish with you the conviction that "nothing truly good and beautiful is lost in the stream of Time," and that the pains taken by those who intend to preserve the higher and the divine in Art do not remain fruitless. In the course of this autumn (at the end of November at latest) I am going to see Wagner, and I promise to send you from Zurich a little autograph from his hand. I would gladly satisfy your wish sooner, but that the letters which Wagner writes to me are a perfectly inalienable benefit to me, and you will not take it amiss if I am more than avaricious with them.
Accept, my dear sir, the assurance of my highest esteem, with which I remain
Yours most truly,
F. Liszt
Weymar, September 8th, 1855
Enclosed are Berlioz' letter and the manuscript of "Sappho."
144. To Moritz Hauptmann
[The celebrated theorist and cantor of the Thomashirche inLeipzig (1792-1868)]
Very dear Sir,
By the same post I send you, with best and warmest thanks for your friendly letter, the volume of Handel's works which contains the anthems. The second of them, "Zadok the Priest and Nathan the Prophet anointed Solomon King," is a glorious ray of Handel's genius, and one might truly quote, of the first verse of this anthem, the well-known saying, "C'est grand comme le monde." ["It is as great as the world."]—
The cantata "L'Allegro, il Pensieroso," etc., enchants me less, yet it has interested me much as an important contribution to imitative music; and, if you will kindly allow me, I want to keep the volume here a few days longer and to send it back with the two others.
I agree entirely, on my side, with your excellent criticism of Raimondi's triple oratorio ["Joseph," an oratorio by the Roman composer, consisting of three parts, which was given with great success in the Teatro Argentina in Rome in 1852]. There is little to seek on that road, and still less to find. The silver pfennig (in the Dresden Art-Cabinet), on which ten Pater Noster are engraved, has decidedly the advantage of harmlessness to the public over such outrages to Art, and the Titus Livius, composed by Sechter, will probably have to moulder away very unhistorically as waste-paper. Later on Sechter can write a Requiem for it, together with Improperias over the corruption of the taste of the times, which have found his work so little to their taste.
With the pleasant expectation of greeting you soon in Leipzig, and of repeating to you my best thanks, I remain, my dear sir, with the highest esteem,
Yours truly,
F. Liszt
Weymar, September 28th, 1855
145. To Eduard Liszt
I have just received your last letter, dearest Eduard, and will not wait till Vienna to give you my warm thanks for your faithful friendship, which you always prove to me so lovingly on all possible occasions. The Mozart Festival seems to me now to have taken the desired turn—that which I suggested from the beginning—and to shape itself into a festival of "concord, harmony, and artistic enthusiasm of the combined Art-fellowships of Vienna." [Liszt was invited by the magistrate of the city of Vienna to conduct two concerts on the 27th and 28th of January, 1856, for the celebration of the centenary of Mozart's birth.]
It is to be hoped that I shall not stick fast in my task, and shall not let this opportunity go by without attaining the suitable standpoint in Vienna.
Meanwhile I rejoice at the satisfactory prospects which present themselves for the Mozart Festival, and greet you heartily.
Berlin, December 3rd, 1855
You will have the most favorable news from Berlin.
146. To Frau Meyerbeer in Berlin
[The wife of the composer of the Huguenots (1791-1864), with whomLiszt stood all his life in such friendly relations that it isvery extraordinary that there are no Liszt letters extant amongMeyerbeer's possessions.]
Madame,
Your gracious lines only reached me at the moment of my leaving Berlin, so that it was no longer possible for me to avail myself of the kind permission you were good enough to give me. Nevertheless, as it is to be presumed that neither the brilliant departure of which I was the hero a dozen years ago, nor the less flattering dismissal with which the infallible criticism of your capital has gratified me this time, will prevent me from returning from time to time, and without too long an interval, to Berlin (according to the requirements of my instructions and of my artistic experiments), I venture to claim from your kindness the continuation of your gracious reception, and thus venture to hope that the opportunity will soon arise for me to have the honor of renewing viva voce, Madame, the expression of my respectful homage.
Your very devoted servant,
F. Liszt
Weymar, December. 14th, 1855
The Princess Wittgenstein is much pleased with your remembrance, and would be delighted to have the opportunity of thanking you personally.
147. To his worship Dr. Ritter von Seiler, mayor of the city of Vienna, etc.
[Autograph in the possession of M. Alfred Bovet, of Valentigne—.VOL. I.]
Your worship and dear Mr. Mayor,
The willingness which I had already expressed, at the first mention of the impending Mozart Festival, becomes to me, by your kind letter of the 19th of December (which I only received yesterday, owing to the delay from its having gone to Berlin), a duty, which it is equally my honor and pleasure to fulfill. With the utmost confidence and conviction that the resolution of the Town Council will meet with the fullest assent and most gratifying recognition among all circles of society—the resolution is as follows: "That all undertakings in connection with the Mozart Secular Festival shall be conducted and carried out in the name of the city of Vienna,"—and in agreement with the honorable motives of the Town Council "to lend to the festivities the worthy and higher expression of universal homage," I, for my part, undertake with the most grateful acknowledgments the commission to conduct the Festival Concert on the 27th January, 1856, and its repetition on the 28th according to your desire; and I hope to fulfill quite satisfactorily every just claim which is made on the musical director of such a celebration.
Although the excellent orchestra, chorus, and staff of singers in Vienna—long intimate with Mozart's works—afford the complete certainty of a most admirable performance, yet I think it is desirable that I should come a couple of weeks before the concert is to take place, in order to have time for the necessary rehearsals; and immediately on my arrival. I shall have the honor of paying my respects to you, dear Mr. Mayor, and of placing myself at the service of the Festival Committee.
In the programme which has been sent to me, the music of which will take about three hours in performance, I am pleased with the prospect before us, that the glories which Mozart unfolds in the different domains of Art—Symphony, Opera, Church, and Concert music-are taken into account, and that thus the manifold rays of his genius are laid hold of, as far as is possible in the limits of a concert programme. Whilst thoroughly agreeing with the performance of the different items as a whole, I have nevertheless one request to make—namely, that you would be good enough to excuse me from the performance of the Mozart Pianoforte Concerto which has been so kindly designed for me, and that this number may be given to some other pianist of note. Apart from the fact that for more than eight years I have not appeared anywhere in public as a pianist, and that many considerations lead me to adhere firmly to my negative resolve in this respect, the fact that the direction of the Festival will require my entire attention may prove, in this case, my sufficient excuse.
Accept, Your Worship, the assurance of the high esteem with whichI have the honor to remain,
Dear Mr. Mayor, yours very truly,
F. Liszt
Weymar, December 26th, 1855.
148. To Eduard Liszt
My very dear Eduard,
Scarcely had I returned to Weymar [From the Mozart Festival at Vienna.] when I again put on my travelling coat to help in Berlioz' concert at Gotha, which took place the day before yesterday—and the whole day yesterday was spent in rehearsals of "Cellini;" followed by a Court concert in the evening (in honor of H.R.H. the Prince Regent of Baden); so that this morning is the first leisure moment I have had to take up my pen again and my position…at my writing-table. I profit by it first of all to tell you how happy I am in this earnest intimacy, as sincerely felt as it is conscientiously considered—this real intimacy of ideas and feelings at the same time—which has been cemented between us in these latter years, and which my stay in Vienna has fully confirmed. All noble sentiments require the full air of generous conviction, which maintains us in a region superior to the trials, accidents, and troubles of this life. Thanks to Heaven, we two breathe this air together, and thus we shall remain inseparably united until our last day!
I am sending you after this the document which serves as a basis to the Bach-Gesellschaft [Bach Society], from which it will be easy to make out an analogous one for the publication of Mozart's complete works. I earnestly invite and beg you to carry out this project to its realization.
According to my ideas, the "Friends of Music in Austria" should constitute and set the matter going, and the Royal State Press should be employed for it, especially as one can foresee that special favors might be obtained from the Ministry. Probably the whole Festival Committee of the Mozart Celebration will also consent to this undertaking, in the sense that, by an edition of Mozart's works, critically explained, equally beautifully printed, and revised by a committee appointed for it, a universally useful, lasting, and living monument to the glorious Master will be formed, which will bring honor and even material gain to all Austrian lovers of music and to the city of Vienna itself. Without doubt, if the matter is rightly conducted, it will also pay well and be pretty easy to carry through. In about twelve years the whole edition can be completed. In the composition of the Committee of Revision I stipulate to call your attention to a few names. Spohr, Meyerbeer, Fetis, Otto Jahn, Oulibicheff, Dr. Hartel—among foreigners these ought especially to have a share in the matter; and a special rubric must be given to the cost of revision. The work of proof-correcting, as well as the special explanations, commentaries, comparisons of the different editions, ought not to be expected gratis; therefore a fixed sum should be applied to it. Haslinger, Spina, and Gloggl, being Vienna publishers, ought specially to be considered, and would be the best to direct the propagation and regular sending out of the volume, which is to appear on the 27th of January every year.
At Spina's you would find several volumes of the Bach- Gesellschaft, to which is always added a list of the subscribers and a statement of accounts for the past year.
I advise you to keep on good terms with Zellner, who was the first to air the subject in his paper (after I had invited him to do so), and to get him into the proposed Committee, if the matter be taken up in earnest. In the Committee of Revision Schmidt (the librarian) and Holz must not be forgotten. With regard to my humble self, I don't want to be put forward, but simply to take my place in alphabetical order; but please explain beforehand that I am ready to undertake any work which they may think fit to apportion to me. I likewise undertake to invite the Grand Duke of Weimar, the Duke of Gotha, etc., to become subscribers.
The whole affair must bear the impress of an Art enterprise—and in this sense the invitation to a Mozart-Verein [Mozart Union] must be couched. (I leave you to decide whether you prefer the word Mozart-Gesellschaft [Mozart Society] or Mozart-herein for the Publication of the Complete Works of Mozart, or any other title.) Together with this I repeat that certainly there is no need to fear any loss in this matter, but that probably there will be a not insignificant gain. This gain, according to my ideas, should be formed into a capital, until the edition is completed, to be then employed, or perhaps not till later, by the Society of Austrian Lovers of Music for some artistic purpose to be decided upon.